'Berthe Morisot: Shaping Impressionism' exhibition at the Dulwich Picture Gallery

I was so excited to go to this Berthe Morisot exhibition; and I absolutely loved it - as I knew I would. I'm a huge Morisot fanboy - having come across her works (in the National Gallery: Impressionism and Towards Modernity).

She was one of the original impressionists (appearing in 8 of the Impressionist exhibitions in Paris, esp. the first one in 1874) and she thoroughly captures the movement's philosophy - swiftly-painted depictions of contemporary life. She was also the sister-in-law of Manet (and that connection is probably quite formative).

As well as her impressionist credentials and a beautiful technique; her oeuvre speak to motherhood, the home and (upper-middle class) women in general. She is important, not merely because of her interests and identity; but because of what she captures in her art. A perspective of women that is wonderful to look at. I really admire her character and steely determination in an age when society equated art as a male preoccupation.  Women were famously excluded from the Academie des beaux arts (but, stemming from a wealthy family, she was tutored privately).

I wonder why Morisot doesn't have the recognition she deserved? No doubt partly explained by society's attitudes vis-a-vis woman, but I suspect that her art (with its focus on the feminine & the domestic) doesn't depict the idea of a strong independent woman tearing down barriers; so I think she has been ignored by feminism too. But people forget the context. Morisot, as with all Impressionists, depicted their everyday lives. Monet and his garden, Degas and his dancers, Morisot and her home life.

Melvyn Bragg recently discussed Morisot on BBC Radio 4.

This exhibition draws on some research; focusing on Morisot's engagement with 18th century art in shaping her Impressionism.

All the paintings are by Morisot, unless stated otherwise.

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In the Bois de Boulogne - 1879

Wonderfully beautiful. 

You can feel the rapid brushstrokes of the summer day. In this case, the outside in Bois de Boulogne, which is a major park (frequented by the other Impressionists) near Morisot's Paris residence.

I noticed the zigzag effect in the navy overcoat (which I have seen in several paintings by her). I like the shades of verdancy of mother nature with a trace of reflection on the lake.

I like those strikingly elegant outfits and the overall shimmering summery feel to the painting.

These are the same models in the 'Summer's Day' painting below.

What a lovely hat surrounded by wonderful brushstrokes. 

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Self-Portrait - 1885

Not sure what to make of the darker bronze-brown hues. It's not a palette, I think, she normally paints with. Maybe she wants to depict herself in a more symbolically neutral colour? stronger colour?

At any rate, this painting shows Morisot with a steadfast thoughtful gaze. Painting herself as a 'serious' painter. I love the flourishes in her hand indicating her brushes.

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Summer's Day - 1879

So charming and beautiful.

I loved this painting when I saw it in the National Gallery.

Believe it or not, Morisot would have to be a bit discreet about painting outdoors as it was not deemed acceptable for women. In this painting, artist and models are seated in the boat - so she couldn't be disturbed.

I love the shimmering effect and summery tones of the plants, ducks and the reflective ripples. I like how one of the ladies is looking directly at us. Beatiful hats again.

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At the Ball (Au Bal) - 1875

A beautiful painting.

The sitter is, as usual, painted in a quiet and reflective tone. I like the interesting shadowing around her neck and shoulders which contrasts with her chest. The eyes are fascinating and the lips beautiful. 

According to the gallery, the 18th century fan belonged to Morisot. It is a nod to fête galante (invented by 18th century artist Watteau) displaying a picture-within-the-picture

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Woman at Her Toilette

Wow!  Love it.

This lady is taking down her hair, after an evening ball. I love the way Morisot has painted this lady's hair. You can almost see the subtle lighter shade of skin when the hair is lifted. And that wonderful earring feels like it occupies a physical space. I also think the way her neck and shoulders have been painted is quite intimate and sensual; and a bit seductive. The grace of her contours and the delicacy of her hues and brushstrokes is very pleasing to the eye.

Her elegance and refinement is matched by her accompanying furnishing; e.g. the vase (with a sweet flower), the mirror with its ephemeral reflection and the ornate flowerly background. Her arm seems to melt in her dress. 

The room feels like it's inside a flower with purple tinges on every surface.

Wonderful.

Thick impressionist brushstrokes

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Young Woman in a Ballgown

Lovely. A beautiful palette with delicate brushstrokes.

Once again, Morisot's portrayal of a young woman in a sumptuously elegant dress, a floral background, and with a quiet introspective gaze. All of Morisot's women have a quiet delicacy and neatness. They're never loud and gauche.

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Reclining Woman in Grey

Wonderful. 

The stillness and the repose is counterbalanced by the energy and force of Morisot's brushwork. The model seems to float on the sedan (and it's probably the same model as the Woman at her Toilette). I like the raised hand posture, and her warm smile. Like she's watching something amusing. It's such a relaxed joyous painting.

The gallery says that this theme is part of the general 18th century theme of women in repose.

Was Morisot's sartorial taste influenced by Madame de Pompadour?

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Girl on a Divan

Another one from the National Gallery. I liked it then, and still do.

Lovely brushwork, vivid bold colours (esp on her dress which seem detached), and quite close and intimate. 

An elegant lady reclining whilst also looking at the viewer; ask if to ask "well?".

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Connections & Discoveries

The exhibition now shifts to Morisot's married life with Eugene Manet, brother of Edouard Manet. Morisot captured the elegance of fashionable life; but she captured everyday home life (especially after the birth of her daughter Julie)

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Eugene Manet on the Isle of Wight

Definitely one of the exhibition's stand-outs.

In this painting, we see her husband (Eugene) looking out into the Isle of Wight (during their honeymoon) - across the flower-potted window-sill and beautiful front-garden - to overlook a nanny escorting a little girls.

I like the busy background of yachts and steamboats and vibrant sea. The drapery is beautifully done. Not sure what Eugene is leaning up against.

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Winter

Beautiful portrait. Lovely hat and shawl. Not sure what's in her hand. She seems to be floating.

According to the gallery, while Morisot was in London; she lived opposite what is now the Wallace Collection. Moreover, the gallery says that Romney's portrayal of actress Mrs Mary Robinson appears to have inspired Morisot's Winter.

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Landscape by Edma Morisot  - 1860s

By Berthe Morisot's sister Edma.

In the style of their teacher, landscape artist Camille Corot. He taught them to paint outdoors.

Edma (who exhibited at the Paris Salon from 1864) gave up on art to focus on being a wife and mother. Berthe was instead lucky. Her husband Eugene basically became a stay-at-home father and husband; and very much supported his wife in her career. 

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Young Woman Watering a Shrub by Berthe Morisot - 1876

Terrific.

One of my favourite paintings in the whole exhibition.

This is really impressionism - the outdoor, the everyday life, the transience.

Why do I like it?  Firstly, this is Morisot depicting her own sister Edma (which makes it special). Then, I really like the unashamedly everyday feel to the painting. Most people aren't posing in life - they're usually going up-and-down, doing stuff. The charm of the painting is that isn't conspicuously self-aware. And what can be more everyday than watering plants on the terrace with your back to the house? I like the slightly wet (post-rain) feel to the background and setting. Then, I really like how Edma is painted. The elegant hairstyle. The black neck ribbon (one of her signatures?). The way her wrist pivot inwards as she nonchalantly pours the water. The brushstrokes forming her housedress are v. vivid, and I like the detail of her sister holding some of it up off the floor. We also don't actually see her! How clever.

According to the gallery, the inspiration is 18th century paintings by Watteau.

 

Edit: I came across this interesting article by Sebastian Smee on this painting in The Washington Post.

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The Fable - 1883

Stunningly intimate. 

A mother and daughter sit in a garden, enjoying a summer's day. The painting is saturated with that summer warmth and strong light (which can sometimes engender a hazy effect). Unfortunately, you can see my reflection a bit at the bottom... Barrhh.

Classic impressionism, but it's interesting how Morisot depicts her female subjects. The mother relaxing with blue work clothes and a small basket by her side. Perhaps one a little break from some home chores as she listens to her daughter. This sweet little girl is sat on a small stool, dressed in a pink dress, with some toy in her hand (?). It's a painting of love between a mother and daughter - which I haven't seen much off in paintings.

I wondered if the child was Morisot's daughter. She was born in 1878. She would have been 5 at the time. So probably.

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Resting

Sensual and beautiful. 

Interesting palette of pinks and greens.  The subject of the painting is Jeanne Fourmanoir, a model who also posed for her friend Renoir (what a circle of friends she had!). 

Morisot's painting is an updated version of Boucher's Young Woman Sleeping. According to the gallery, she wrote a letter:

"Yesterday, at a curiosity shop in the Faubourg Saint-Germain, I saw an engraving after Boucher, of extreme impropriety and yet adorable grace. This extraordinary man had all the grace and all the audacity. One cannot imagine anything more voluptuous that this sleeping woman, her breast swelling with love."

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The Psyche Mirror - 1876

Another fabulous (and flirtatious) painting.

Once again, everyday life is captured in the atmospheric effect of light.

Here, a graceful lady (with elegant hair, and a black neck ribbon) looks into a mirror and ties the waist of her loose blouse at the back. Perhaps for a corset? Definitely flirtatious ... left shoulder bare with the sleeping material, towards the viewer.

The effect of the light entering the room via the window flanking the mirror creates a rich and vivid white tonality. I love the hazy atmosphere in the room with dotted hues on the sedan and curtain. The floor also has a similar saturation but in a different hue.

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Julie Manet

Morisot's 10 year old daughter, in chalk.

Geometric face, lovely curvy hair, beautiful nose and lips. Lovely.

Strangely this is in a "private collection" - surely should be with the family? 

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Young Woman Reclining - 1887

Red chalk on paper.

By the late 1880s, Morisot began experimenting with red chalk; an interest shared and encouraged by Degas and Renoir.

I think it's quite pretty and beautiful. 

This beautiful red chalk drawing by the 18th century
artist Fragonard belonged to Morisot's artist friend Degas.

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Creative Transformations

The exhibition moves to consider Morisot's engagement with 18th-century art and grand mythological paintings which deepened as she became older. 

In doing so, Morisot introduced her feminine perspective & translated elements with her own Impressionist language.

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Venus at the Forge of Vulcan (after Boucher)

As a teenager, Morisot was taught by Joseph Benoît Guichard. He told her to copy the great masters at the Louvre. She also needed to be chaperoned for this!

The above painting was made by Morisot (in her mid-forties) of a translation from Boucher. As can be seen from the upper right side of the painting.

Her impressionist brushwork and high-keyed palette of pinks and blues are wonderful. 

 

Apparently, Morisot had this painting in her own reception room of her home !

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Two Nymphs, from Apollo Revealing his Divinity to the Shepherdess Isse (after Boucher)

Amazing. 

Another one of Morisot translations of Boucher's work through her own visual language. 

The gallery suggests that Monet may have been influenced by her art. His short and longer sinewy brushstrokes and pastel colouring of water lilies.

It confirms that Morisot really belongs among the great masters of art.

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Morisot's Circle

The exhibition then turns to Morisot's most compelling works which were family and friend portraits.

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Berthe Morisot Children with a Basin - 1886

Lovely and v. sweet.

Morisot's daughter, Julie, is on the left. It seems that's an 18th century Chinese porcelain bowl, which was a gift from Manet. The other girl is Marthe Givaudan and she was daughter of the concierge in their apartment building. 

The girls are pretending to do fishing. What a lovely moment captured.

Lovely brushstrokes, and a delicate eye, lips and a faint nose.

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Paule Gobillard Painting - 1887

This is Morisot's niece Paule Gobillard. 20 years old. Morisot was an important mentor.

I like the amazing brushstrokes depicting the rapidity of her brush against the canvass; against which she has a serious countenance, still and calm in her features. You can see her serious concentration.

 

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Young Girl Reclining - 1893

This is pretty - but not as vivid as her earlier work, I think. 

Painted 2 years before Morisot's death. Her husband Eugene had already passed away.

For some reason, I think the light infiltrating the room and interacting with woman reclining is missing something. Perhaps a stronger contrasting colour? (The 'Psyche Mirror' (above) had a red floor).  But, otherwise it's quite beautiful. The pose on the chaise-longue, with head resting on hand is an 18th century motif.

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Paule Gobillard in a Ballgown - 1887

Exquisite.

Morisot's niece again.

It has all the classic Morisot elements: beautiful elegant hair, a lovely sedan sofa, flowery dresses & ballgowns, light that interacts/reflects and intensifies the subject. (But wait; no neck ribbon?? :) )

I love the golden-brown hair in a bun (with a golden Chinese-style stylus), beautiful brushstrokes for the ballgown and neckline. The palette saturation of the canvass is modulated by the white light that shines around her. As such, Paule has a wonderful lustrous look about her. Oh, and I love the wisps of hair coming out of her neck. What a fabulous little detail. 

However, Paule has a certain subdued brooding type of expression. Her eyes are slightly shifty. Not sure why though? Perhaps she's just in contemplation?

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Portrait of Madame Escholier - 1888

The subject was a lifelong friend of the artist. 

She posed in the light-filled reception room of Morisot's home. It was filled with 18th-century style décor some of which were Manet family heirlooms.

Lovely painting:

Lovely interlocking fingers, and flower.

Such a delicate palette.

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Girl Playing the Mandolin - 1890

Just so lovely.  Nobody does the everyday life depiction of women quite like Morisot. 

This is Julie playing the quintessential musical instrument of the 18th-century, the mandolin.

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In the Apple Tree - 1890

Very sweet.

What a curvy & swirling composition. No straight edges, and everything in a lovely light tint of yellows, oranges, pinks and blues. 

11 year old Julie again; with a flower in her hair and a bright ear. Below her is Jeannie Gobillard, younger daughter of Morisot's sister, Yves. A lovely huge straw-hat. Mind you, I really don't like their being no facial features. That creeps me out a bit.

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The Dovecote at Mesnil - 1892

Beautiful.

Painted towards the end of Morisot's life. I love the greenery against the pink-orangey building. Lovely contrast with her brushwork.

But it has a sad note.  In 1891, Morisot and her husband bought the historic Château du Mesnil. Morisot later wrote to her friend, poet Mallarme: "We are carried away by the desire to be in a beautiful setting before we die".

Her husband Eugene died a few months this painting. They ended up moving to a small home in Paris.

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Julie Manet and her Greyhound Laertes - 1893

A poignant & beautiful portrait.

On the one hand, we see Julie (aged fourteen) in mourning for the death of her father. Stoic and solemn. She caresses her pet greyhound, Laertes.

On the left, we see an empty chair. Loss.

Just 2 years later, Julie would become an orphan. Her mother would succumb to influenza and die of pneumonia on 2nd March 1895, aged only 54.